The only Persian nazm in the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a glance like black light, a Leyla awake at night, a golden sunburst and a pearl on a mirror.
Âkif's ghazal with the refrain "mı ḳaṣdıñ": a dawn cypress swaying to the garden, an angry rosebud, a smile that would betray secrets and a physician beloved of poison and antidote.
Kara Fazlî's five-stanza murabba of praise for Derviş Bâlî, one of the famous beauties of his day, woven from images of the dervish lodge, the abdal and the Işık.
Münîrî's Persian ghazal on "-yı ḫod": the lover finds permanence in nonexistence, the heart's mirror is polished by the rust of grief, and the perfect man reaches his place.
Adlî's hezec ghazal with the refrain "-lerden": the arrow of a sigh reaching the heavens, wishes never granted, a lover passed through sieves, and submission to the divine decree.
The dark curl is the evening of exiles, the bright cheek the morning of home; a heart falling from curl to curl towards China, a mouth no bigger than an imagined point.
A ghazal with the refrain "guarding": a lover who tries to shield the beloved from the evil eye, from mirrors, from moonlight and from his own blood; Erünsal's example of leff ü neşr.
A ghazal telling entry into a Sufi order in tavern language: kissing the elder's foot, the hand of acceptance, repentance, the licence, the moment before cup or sky, and the dog's name.
With "Hamza" as refrain: Hamza Beg defeats İzmiroğlu Cüneyd before İpsili, brings him out under oath, and Yahşı Beg avenges his brother on Cüneyd and his son.
Mustafa Vâzıh's three-couplet nazm: moths of grief circling the candle of the soul, a pupil dressed in festive red and a pen whose mouth waters at a lemon chin.
Âkif's autumn ghazal: a seasonal poem that calls autumn "the wedding feast of the old spring" and sees the joy of the path of annihilation in hennaed and falling plane leaves.
Kara Fazlî's five-stanza murabba for the tailor beauty Memî Şâh, built on images of collar, skirt, iron, shears and cloth from the tailor's shop.
Münîrî's Persian ghazal without refrain: without the beloved the garden turns to tulips with tears, the soul thirsts for the sword's sherbet, and the pupil keeps the curtain.
Adlî's five-couplet ghazal with the refrain "ideyin": a heart that rejoices in pain, a ruined house rebuilt by arrows, a bird freed in the rose garden, and a closing wish for a name.
Like a shadow, a skirt, a candle, an autumn leaf and a curl, the lover finds no return from anyone at whose feet he has fallen: the long refrain "kimüñ pâyına düşdümse".
A short ghazal that likens the beloved's lip, eye and glance to the madrasa books Şifâ, Hikmetü'l-ayn and Şerhu'l-İşârât; a response to Ahmedî with an eye rhyme.
The alms of beauty asked in legal terms: vow, khums, alms and charity, the degrees of paradise left to the preacher, the sugar-drinking parrot of nature and words from a sea of miracles.
Imprisoned princes speak in three long couplets: Veys and Ahmed of Menteşe, sent to Tokat, are first given a timar and then shut in Tokat castle.
Mustafa Vâzıh's nazm built on images from calligraphy: blood dripping from the pen of the eyebrow, teeth like the teeth of the letter sīn and wine in the tavern harem.
Kara Fazlî's five-stanza murabba for the barber beauty Hasan Bâlî, built on shaving, the mirror, the razor and the double meaning of "bringing one's work to a head".
Münîrî's Persian ghazal without refrain: the lip is the spring of life's water, the cheek the eye's light, rose conserve cannot cure the lip's sickness, and the guest gets liver's blood.
Adlî's ghazal with the refrain "gibi ben": a body thin as a hair, hair sweeter than Khotan musk, hyacinths that amaze Rıdvan, and a gazelle-like beloved who tells Adlî to follow like a dog.
The lover who called the curl musk of China admits he said it by error, hatâ; a kiss like a sale without consent, "what is past is past", and a bubble in the sea of love.
A ghazal with the refrain "ey dōst" that likens the cheek to a mirror no gaze can harm: a response on Şeyhî's ground, an opening Zâtî repeated, and a lover burning like a candle.
The harshest satire on the preacher in the divan: the refrain-like "what wickedness, what wickedness", compound ignorance, a preacher stoning the heart's Kaaba, and a poet stoning the devil.
Escape in a sack of straw: the Menteşe prince Ahmed Beg is smuggled out of Tokat castle while his brother Veys stays behind, and flees to Egypt and Persia.
Mustafa Vâzıh's incomplete ghazal opening with an invitation to spring and wine: griefs blown away, the arrow of calamity accepted and a head held high on a spear.
Kara Fazlî's five-stanza murabba of supplication to the tailor beauty Memî Şâh, with the refrain "Ben ḳuluña merḥamet eyle Memī Şāh'um benüm" and Leyla and Mecnun.
Münîrî's Persian spring ghazal without refrain: the cup is called for, no raw promises are made to those cooked by love, and love's foundation stands in a ruined heart.
Adlî's five-couplet ghazal with the refrain "-umdan": a blood-raining eye, black fortune, a profitless bargain with the beloved's hair, and a poet who might burn for his own poems.
Mül mül, kulkul, fülfül, düldül, bülbül: rhymed on doubled syllables, the ghazal holds a mole like pepper wrapped in paper and a rose that weeps for the nightingale.
A response to Ahmed Paşa's "dürüst" ground written alongside Bayezid II and Necâtî: tresses as a polo stick, an elif hidden in the word "cān" and couplets worth a divan.
The tavern's mufti asked for a hundred-question fatwa on drink: a jest on Ottoman fatwa language, love as kohl, longing as stick, beauty as pot, and servitude as kingship.
A feast that ends in mourning: the Kızılkocaoğulları, who cut the roads of Amasya and Tokat, are lured to Amasya by Yörgüç Paşa, seized at a feast and killed.
Mustafa Vâzıh's three-couplet nazm: a heart seeking refuge in God from brow and glance, a moon burning for the sun of beauty and griefs that never leave the dead lover.
Kara Fazlî's five-stanza murabba praising Alî Bâlî, a famous beauty of his day, with the play "a‘lā ‘Alī", flower comparisons and the motif of the Resurrection.
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